Sunday, May 10, 2015

In Lies There's Truth. Of Course, Forsooth

If you have the time, and don’t
mind rhyme, that is, to verse you’re not averse, “The Liar” ‘tis, I’m sure
you’ll find, a bit of show biz that’s rather fine.

The opening production of Westport
Playhouse’s 86th season is an adaptation of Corneille’s comedy by
David Ives, the author of “Lives of the Saints” and “Venus in Fur.” It’s a
smart selection, for it is light, frolicsome and, as deftly directed by Penny
Metropulos, a fast-moving romp that blends 17th-century French
theater motifs with modern sensibilities, and it doesn’t hurt that the cast is,
without exception, not only extremely talented but totally “into” the spirit of
the evening.

As the play’s title suggests, the
focus of the goings-on is an habitual liar by the name of Dorante (Aaron
Krohn), recently arrived in Paris
– or, has he been there for a year – or, has he been off fighting the Germans?
Wherever he’s been, he is quickly accosted by Cliton (Rusty Ross), who urges
the gentleman to hire him as his valet. The deal is made, and Dorante soon
relates to Cliton his desire to find a maid to woo and win. No sooner said than
Lucrece (Monique Barbee), Clarice (Kate MacCluggage) and Isabelle (Rebekah
Brockman) appear on the scene. Dorante immediately falls in love with Clarice,
but he is misinformed by Cliton that the lady’s name is Lucrece. Confusion
immediately sets in, added to by the fact that Isabelle immediately falls for
Cliton, but you see, while Isabelle is somewhat lusty, her twin sister Sabine
(also played by Brockman) is somewhat stern and straight-laced. You sense the
complications that will arise here.

Rusty Ross and Aaron Krohn

To add to the confusion, Clarice has
been engaged to Alcippe (Philippe Bowgen) for two years, and Alcippe happens to
be Dorante’s dear friend. Oh, dear. More complications. Then there is Geronte
(Brian Reddy), Dorante’s father, who desperately wishes his son to marry and
father a child, and Alcippe’s confidante, Philiste (Jay Russell), who is
secretly in love with Sabine. Egads and zounds! Even more complications.

Yes, the plot goes ‘round and
‘round like a whirligig, but you won’t need to overly worry about which way the
wind is blowing, because the plot twists are secondary to the magnificent,
multiple lies that Dorante weaves over the course of the evening, each one more
fabulous than the last, and each adding impetus to the imbroglio.

Kate MacCluggage and Monique Barbee

Krohn is superb as the mendacious
Dorante. Yes, his character is a liar, but there’s a certain honesty to his
marvelous confabulations that he conjures with a great deal of brio. The high point is his
description of how he was forced to marry, an extended monologue that is an
express train of storytelling. All you can do is watch in awe as he grasps at
straws and somehow manages to construct a cathedral out of them.

Kate MacCluggage, Monique Barbee,

Aaron Krohn and Brian Reddy

He is ably supported by Ross, whose
character is the direct opposite of Dorante’s – Cliton cannot tell a lie. Ross
plays the jester/dogsbody to a fault, making biting comments as appropriate
while all the while in awe of his master’s audacity. As the two ladies being
wooed, MacCluggage and Barbee work their banter well, with MacCluggage giving
Clarice a suitable archness that plays off Barbee’s somewhat wistful and naïve
Lucrece.

The supporting cast is equally
adept. Brockman plays both of her roles to perfection, and has one of the best
(theatrical) lines of the show – “I almost didn’t make it.” – at the play’s
conclusion. As Alcippe, Bowgen has obviously looked up the word “popinjay” and
has taken the definition to heart. His character is all pomposity and puffery,
and he delights in another of the play’s set-pieces, the “finger” sword fight
with Dorante.

Philippe Bowgen, Jay Russell and Aaron Krohn

Reddy and Russell are equally comfortable
in their characters, with Reddy giving us just a hint of Polonius and Russell a
tinge of Malvolio (yes, Ives, while adapting Corneille, doesn’t forget the
Bard).

Brian Reddy and Jay Russell

Since this is an adaptation that
blends conventions separated by almost five centuries, the set by Kristen
Robinson is effectively minimalistic, consisting basically of four overarching
“trees” under which chairs, several black and white barrels and a garden gate
are maneuvered by the cast to suggest setting. It falls to costume designer
Jessica Ford to establish the 17th-century feel of the production,
and this she does with a great deal of style and invention.

All in all, “The Liar” is a classy,
inventive, verbally entrancing hoot of a play. Yes, some of the rhyming may be
a bit strained, but that just adds to the enjoyment. You will feel a smile
blossom as you watch the play’s opening moments, and as the evening progresses
the smile grows into a perpetual grin of delight and satisfaction.

“The Liar” runs through May 23. For
tickets or more information call 203-227-4177 or go to
www.westportplayhouse.org.